The Gospel At Colonus

A founding member of the acclaimed New York-based company Mabou Mines, Breuer's gifts as a writer and director have have made him a mainstay of the theatrical avant-garde.

English versions of Sophocles' three great tragedies based on the myth of Oedipus, translated for a modern audience by two gifted poets. Index.

Oedipus presents ceaseless paradoxes that have fascinated readers for centuries. He is proud of his intellect, but he does not know himself and succumbs easily to self-deceptions. As a ruler he expresses the greatest good will toward his people, but as an exile he will do nothing to save them from their enemies. Faced with a damning prophecy, he tries to take destiny into his own hands and fails. Realizing this, he struggles at the end of his life for a serenity that seems to elude him. In his last misery, he is said to illustrate the tragic lament that it is better not to be born, or, once born, better to die young than to live into old age. Such are the themes a set of powerful thinkers take on in this volume-self-knowledge, self-deception, destiny, the value of a human life. There are depths to the Oedipus tragedies that only philosophers can plumb; readers who know the plays will be startled by what they find in this volume. There is nothing in literature to compare with the Oedipus plays of Sophocles that let us see the same basic myth through different lenses. The first play was the product of a poet in vibrant late middle age, the second of a man who was probably in his eighties, with the vision of a very old poet still at the height of his powers. In the volume's introduciton, Paul Woodruff provides historical backdrop to Sophocles and the plays, and connections to the contributions by philosophers and classicists that follow.

King Oedipus/Oedipus at Colonus/Antigone Three towering works of Greek tragedy depicting the inexorable downfall of a doomed royal dynasty The legends surrounding the house of Thebes inspired Sophocles to create this powerful trilogy about humanity's struggle against fate. King Oedipus is the devastating portrayal of a ruler who brings pestilence to Thebes for crimes he does not realize he has committed and then inflicts a brutal punishment upon himself. Oedipus at Colonus provides a fitting conclusion to the life of the aged and blinded king, while Antigone depicts the fall of the next generation, through the conflict between a young woman ruled by her conscience and a king too confident of his own authority. Translated with an Introduction by E. F. WATLING

Published to coincide with its British premiere at the Royal National Theatre, The Darker Face of the Earth is Rita Dove's first play. Set on a plantation in pre-Civil War South Carolina, it has been performed to great critical acclaim.

Many playwrights, authors, poets and historians have used images, metaphors and references to and from Greek tragedy, myth and epic to describe the African experience in the New World. The complex relationship between ancient Greek tragedy and modern African American theatre is primarily rooted in America, where the connection between ancient Greece and ancient Africa is explored and debated the most. The different ways in which Greek tragedy has been used by playwrights, directors and others to represent and define African American history and identity are explored in this work. Two models are offered for an Afro-Greek connection: Black Orpheus, in which the Greek connection is metaphorical, expressing the African in terms of the European; and Black Athena, in which ancient Greek culture is "reclaimed" as part of an Afrocentric tradition. African American adaptations of Greek tragedy on the continuum of these two models are then discussed, and plays by Peter Sellars, Adrienne Kennedy, Lee Breuer, Rita Dove, Jim Magnuson, Ernest Ferlita, Steve Carter, Silas Jones, Rhodessa Jones and Derek Walcott are analyzed. The concepts of colorblind and nontraditional casting and how such practices can shape the reception and meaning of Greek tragedy in modern American productions are also covered.

Oedipus, king of Thebes, is one of the giant figures of ancient mythology. Through the centuries, his story has inspired works of epic poetry, lyric poetry, tragedy, opera, a gospel musical and more. The myth has been famously deployed in psychology by Sigmund Freud. It may not be too bold to claim that Oedipus is the name from Greco-Roman mythology best known beyond the academy at the present time, thanks to Freud's famous phrase 'the Oedipus complex'. The most famous version of the Oedipus myth from antiquity is the Greek play by Sophocles. But there is another version, the Latin drama by the Roman philosopher and politician Seneca. Seneca's version is an entirely different treatment from that of Sophocles and reflects concerns special to the author and his Roman audience in the first century AD. Moreover, the play actually exercised a much greater influence on European literature and thought than has usually been suspected. This book offers a compact and incisive study of the multi-faceted Oedipus myth, of Seneca as dramatist, of the distinctive characteristics of Seneca's play and of the most important aspects of the reception of the play in European drama and culture. The scope of the book ranges chronologically from Homer's treatment of Oedipus myth in the Odyssey down to a twenty-first century Senecan treatment by a Lebanese Canadian dramatist. No knowledge of Latin or other foreign languages is required.

This book brings a variety of voices into conversation about the issues of identity, community, tension and violence, and peace in the West: from Sophocles to Alice Walker, from Lincoln to Martin Luther King, Jr. and from Euripides to Edward Said.

The Literary Agenda is a series of short polemical monographs about the importance of literature and of reading in the wider world and about the state of literary education inside schools and universities. The category of "the literary" has always been contentious. What is clear, however, is how increasingly it is dismissed or is unrecognized as a way of thinking or an arena for thought. It is sceptically challenged from within, for example, by the sometimes rival claims of cultural history, contextualized explanation, or media studies. It is shaken from without by even greater pressures: by economic exigency and the severe social attitudes that can follow from it; by technological change that may leave the traditional forms of serious human communication looking merely antiquated. For just these reasons this is the right time for renewal, to start reinvigorated work into the meaning and value of literary reading. This short but thought-provoking volume asks the question, "What is it that tragedy makes us know?" The focus is on tragedy as a mode of representing the experience of radical suffering, pain, or loss, a mode of narrative through which we come to know certain things about ourselves and our world--about its fragility and ours. Through a mixture of historical discussion and close reading of a number of dramatic texts--from Sophocles to Sarah Kane--the book addresses a wide range of debates: how tragedy is defined, whether there is such a thing as "absolute tragedy," various modern attempts to rework the classical heritage and the relation of comedy to tragedy. There is also a fresh discussion of whether religious--particularly Christian--discourse is inimical to the tragic and of the necessary tension between tragic narrative and certain kinds of political as well as religious rhetoric. Rowan Williams argues that tragic drama both articulates failure and frailty and, in affirming the possibility of narrating the story of traumatic loss, refuses to settle for passivity, resignation, or despair. In this sense, it still shows the trace of its ritual and religious roots. And in challenging two-dimensional models of society, power, humanity and human knowing, it remains an intrinsic part of any fully humanist culture.